Breeds of Misery: Existential angst, bad timing, being a kid

Best/Worst Lines: "Gee, but it's tough to be a kid like me, but I guess there is nothing I can do. 'Cause all the stuff beneath the Christmas tree has to count for my birthday too."

A vintage hard luck story. It tears me up this time of year thinking about all the children (and adults!) born within a week of Christmas who have suffered the injustice of the doubled-up Christmas/birthday present. I'd like to gather them all around and comfort them with the knowledge that, in this at least, they are like the baby Jesus. That gold, frankincense, and myrrh? The first ever doubled-up present.

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AuthorJohn Proctor

Breeds of Misery: Pedophilia/Incest, patricide, bearing false witness as Santa

Best/worst lines: "I guess he was givin' Millie's bruises time to heal. Of course he told us she was sick and we believed him. And at the department store as Santa we would see him. As he smiled, his own child was at home plottin', how off the face of this earth she was gonna knock him."

This is the Flowers in the Attic of Christmas tunes, daring you to stop listening as it piles heap upon heap of atmospheric detail until you only keep listening in the quixotic hope of a good end for poor Millie. The close of the song is actually fairly open-ended, prompting a "sequel" by hip-hop collective Atmosphere, "Millie Fell Off the Fire Escape." Not much mystery as to how that ended.

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AuthorJohn Proctor

Breeds of Misery: Woe is me, first-world problems, post-boy band solo careers

Best/Worst Lines: Every. Single. One. It hurts my fingers to even think of typing them.

This is probably the most deserving song of any here, if only because it holds the twin distinction of being painfully, uncomfortably miserable for both the singer and the listener. Probably best known as a New Kids on the Block sidekick in the late Eighties/early Nineties, Page has a voice that reflects that pedigree. This piece of It's-Christmas-I-Miss-You ilk, recorded around the time of Page's short-lived ride on the NKOTB train, is possibly the worst Christmas song ever recorded. Pure misery. (Page is now Head of Music Partnerships for Pandora, so he seems to have recovered.)

 

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AuthorJohn Proctor

Breeds of Misery: Family estrangement, loneliness, Christmas without sleigh bells

Best/worst lines: "I haven't heard you call me sister, I haven't heard it said in years. But it's a funny thing now it's the only thing I want to hear...I understand that you are angry. Well, maybe I am angry too. 'Cause I still love you brother, but I don't know what to make of you...Now do you sit by your plastic tree, and tell your friends you've no family?"

Man, this one kills me, perhaps because I imagine at least one of my sisters saying these exact things about me. I want to call her, to say I love her, and to tell her I no longer understand her any more than she understands me. But know this, sister: I wish you well. And I love you too.

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AuthorJohn Proctor

Breeds of Misery: Poverty, wealth, being chased by a bloodthirsty king

Best/Worst lines: "People love the working man who does the best that he can, but don't forget all the horses and toys never could fix the poor, little, rich boys...People say they love the maid who sweats and toils just like a slave, but don't forget all the diamonds and pearls never could fix the poor little rich girls...Don't forget Jesus, Mary and Joseph, running from the law King Herod had imposeth, and they were each one quite odd: a mensch, a virgin and a god."

This song, sung by one of North America's great musical families, seems to be the spiritual flipside of Do They Know It's Christmas, taking as its mantra a quote from Twentieth-Century journalist Sydney J. Harris: "The rich who are unhappy are worse off than the poor who are unhappy; for the poor, at least, cling to the hopeful delusion that more money would solve their problems - but the rich know better." This helps me stomach Mr. Potter, and his spiritual flipside and identical twin Dick Cheney, whenever I see them scoff and harrumph yet again on TV.
 

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AuthorJohn Proctor

Breeds of Misery: World poverty, indifference, the Eighties

Best/Worst Verse: "There's a world outside your window, and it's a world of dread and fear, where the only water flowing is the bitter sting of tears. And the Christmas bells that ring there are the clanging chimes of doom. Well, tonight thank God it's them, instead of you."

I actually wrote a piece about this song for A Child Grows in Brooklyn last year called "Why “Do They Know It’s Christmas?” may be the most important Christmas song to share with your children," and it turns out that I might be the only person in the world who unconditionally loves this song, Bob Geldof included. My reason for this love is simple: it was the first Christmas song I listened to as a child that made feel relatively lucky to live in a low-income US household on Christmas. And as celebrity agitprop goes, it's about a hundred times better than We Are the World.

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AuthorJohn Proctor

Breeds of Misery: Lovelorn revery, clinical depression, seasonal affective disorder

Best/Worst Verse: "All my friends, I've returned to sister winter. All my friends, I apologize, apologize..."

Of all of Sufjan Stevens' extensive Christmastime EP songology - now enclosed in two lovingly and intimately presented box sets (which you can find here and here; you're welcome) - this is perhaps my favorite offering. It's beautiful, evocative, and intensely sad. I've always thought it almost read like an immaculately conceived suicide letter. At the very least it's a reminder, as we feast on the joys of the holiday, that Winter Is Coming. As Stevens says in his liner notes to the second box set: "This is the true horror-show catharsis of Christmas: the existential emptiness that perseveres in the heart of modern man as he recklessly pursues his search for happiness and comes up empty handed."

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AuthorJohn Proctor

Breeds of Misery: Matricide, bereavement, hero debasement

Best/Worst Verse: "When we found her Christmas morning at the scene of the attack, she had hoof prints on her forehead and incriminating claws (Claus) marks on her back."

OK, perhaps too obvious. But man, what a horrific situation for a humorous holiday novelty song. And it gets even darker if those are Claus marks, not claws marks, on her back. (Apparently, someone created a direct-to-video animated adaptation in 2000, which I have not seen but seems to blend the song with It's A Wonderful Life and (SPOILER ALERT) brings back Grandma at the end. Cowards.)

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AuthorJohn Proctor

Breeds of Misery: Addiction, self-pity, getting old, existential despair

Best/Worst Verse: "You say it's Christmas Eve? That don't mean nothing to me. Just another fucked up day, just another waste of time."

I first heard this song, about a 35-year-old heroin addict, when it came out in 1993. I was in college and somehow empathized with lines like "You smartass college fuck, act like you think you're tough. I was just like you, more proud than you could know. You think you pity me? Yeah, I'll kick your ass if you pity me." (I think I especially loved that they were playing primarily to college-town audiences.) I probably over-idolized Art Alexakis's street cred as a recovering addict, and envisioned myself romantically as either him or Jim Carroll by the time I was 35. What a disappointment I've been.

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AuthorJohn Proctor

On a whim, I've decided to do "12 Days of Miserable Christmas Songs" - you know, those tunes that exult in the loneliness, heartache, and selfishness characteristic of our most maudlin American holiday. I'll be posting one a day starting on 12/13, and go through to Christmas Eve. Viva, Les Miserables! (Yes, that's Franish, or Spench.)

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AuthorJohn Proctor

I'm currently obsessively reading All That Is Solid Melts into Air, underlining seemingly half the book while nodding in agreement. I love this passage that I just read, from his essay on Baudelaire, "Modernism in the Streets: The Mire of the Macadam":

"[Baudelaire] finds to his amazement that the aura of artistic purity and sanctity is only incidental, not essential to art, and that poetry can thrive just as well, and maybe even better, on the other side of the boulevard, in those low, 'unpoetic' places...One of the paradoxes of modernity, as Baudelaire sees it here, is that its poets will become more deeply and authentically poetic by becoming more like ordinary men...The 'bad poet' in this world is the poet who hopes to keep his purity intact by keeping it off the streets, free from the risks of traffic. Baudelaire wants works of art that will be born in the midst of the traffic, that will spring from its anarchic energy, from the incessant danger and terror of being there, from the precarious pride and exhilaration of the man who has survived so far...His mouvements brusques, those sudden leaps and swerves so crucial for everyday survival in the city streets, turn out to be sources of creative power as well. In the century to come, these moves will become paradigmatic gestures of modernist art and thought."

The "century to come" is now past, but this spirit still drives me and thousands of other urban writers, artists, filmmakers, musicians, and thinkers. But then Berman goes further, envisioning the present-day uprisings in Hong Kong, Ferguson and my beloved NYC while recounting the many people on the streets of the Twentieth Century:

"[F]rom Baudelaire's time to our own - the boulevard will be abruptly transformed into the stage for a new primal modern scene. This will not be the sort of scene that Napoleon or Haussmann [or Robert Moses or Rudy Guiliani or various police departments would like to see, but nonetheless one that their mode of urbanism will have helped to make.

"As we reread the old histories, memoirs and novels, or regard the old photos or newsreels, or stir our own fugitive memories of 1968, we will see whole classes and masses move into the street together. We will be able to discern two phases in their activity. At first the people stop and overturn the vehicles in their path, and set the horses free: here they are avenging themselves on the traffic by decomposing it into its inert original elements. Next they incorporate the wreckage they have created into their rising barricades: they are recombining the isolated, inanimate elements into vital new artistic and political forms. For one luminous moment, the multitude of solitudes that make up the modern city come together into a new kind of encounter, to make a people."

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AuthorJohn Proctor

Tonight, boarding the F train with my stepdad on our way back from Thanksgiving dinner in Jersey with family, I walked into a wall of stench. Specifically, piss. Like, the kind of stink you carry with you, lingering in your nostrils even while you write about it two hours later.

We'd hopped onto this particular car after seeing a row of open seats, and quickly saw the reason they were open: a homeless man, slumped over his seat with an open container of food someone had given him, probably leftovers from someone's Thanksgiving dinner. It looked like potatoes and cabbage, and he was eating it with his fingers, slurping and smacking his lips, never looking up even as more than one person slipped dollar bills into the hand he wasn't eating with.

I wasn't one of these people. I don't know if I resented the intense smell or just thought my assistance would be overkill, but I just looked at him - ok, I stared at him, and thought about sitting on the F train two days earlier with my five-year-old daughter, when a man with no legs wheeled into our car shaking a soup can. I gave this man my pocket change, and he said, "Thanks man, God bless you an' your girl on these holidays." I said, "Take care, man."

As he was wheeling away, my daughter asked, "What happened to his legs?" I said, "I don't know."

She asked, "Why did you have to give him money?" I said, "I didn't have to."

"Then why did you?" she asked. "I don't know," I replied, "Maybe because he looked like he needed it?"

"How come some people aren't giving him money?" "Everyone can choose."

"When he gets done," she concluded, "I think he'll have a lot of money." "Or," I added, "just enough for today."

When I was a freshman in junior college, I didn't have any money. My tuition was paid by a Pell grant and a small athletic scholarship, none of which ended up in my pockets. Because of this, and/or because I didn't really think personal hygiene applied to one's feet, I only washed my socks once each semester that year. Did I mention my scholarship was for running track? My socks might not have been able to walk themselves, but they became so hard and crusty that I had to work my feet into them each time I woke up or went to practice. You can imagine how they smelled, though the full effect on my teammates eluded me until I was dressing in the locker room at Southwest Missouri State (now just Missouri State) and heard two of my teammates chatting a couple of rows away.

"What's that smell?" one of them asked.

"I dunno," the other replied, then laughed, "Must be Proctor."

"I haven't figured out what it is about that guy that smells so bad. Piss? Yep, that's it. He smells like cat piss. Makes me dread the van rides home from meets."

I remember these things almost nostalgically. These two guys are my friends now, especially since I agreed to throw my socks in their laundry from then on. One or both of them might even see the link to this on my social media and remember those foul rides home with me, like I'm remembering them with a homeless man's aroma running through my brain and my daughter's questions running through my head.

For these and more reasons, this Thanksgiving I'm thankful for clean socks, feet to put them on, and a pot to piss in.

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AuthorJohn Proctor

Actually, he was writing on the 1920 Presidential election, but it's nice to see some things never change (they only get bigger, more expensive, and more entrenched in our legal system):

In other lands, at worst, there are at least intelligible issues, coherent ideas, salient personalities. Somebody says something, and somebody replies....Here, having perfected democracy, we lift the whole combat to symbolism, to transcendentalism, to metaphysics. Here we load a palpably tin cannon with blank cartridges loaded with talcum powder, and so let fly. Here one may howl over the show without any uneasy reminder that this is serious, and that some one may be hurt. I hold that this elevation of politics to the plane of undiluted comedy is peculiarly American, that nowhere else on this disreputable ball has the art of the sham-battle been developed to such fineness.

Alright, show's over, folks. Let's all breathe a sigh of relief, pat ourselves on the back for voting, complain or gloat on social media, and let our elected officials breathe their own sigh of relief. They've done their job; now they get to rest for 4-6 years.

 

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AuthorJohn Proctor

"Through my first 17 years I had three names; two mothers, one of whom died when I was young; and a multitude of fathers. I left home then, and started anew. The words I read became my family, my tradition, my primary influence. My family now is a set of literary tropes, no more real to me than John Proctor in The Crucible or the Talking Asshole in Burroughs’ Naked Lunch. It’s no coincidence that my name shares space with the American canon. They both made me."

Buy the issue online here, or pick it up at your favorite (hopefully independent) bookstore!

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AuthorJohn Proctor

"One thing about that 'crisp' inland weather—it ripens those apples, pumpkins, and other harvest crops we so associate with autumn, the time of year most associated, for children and adults with souls, with picking stuff (besides our noses). And apple and/or pumpkin picking is an eminently worthy excuse to drive, rent a Zipcar, or catch a train out of town, whether out to Long Island, over to Jersey, up the Hudson, or even further in any direction. And so it is in honor of the harvest that I present the Autumn Road Trip Playlist."

Read the rest here!

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AuthorJohn Proctor

Conversation between owner and barista Amanda and one of my favorite patrons, a 71-year-old man who looks vaguely like William Burroughs, walks awkwardly with a cane, and reads the Daily News here every morning:

AMANDA: It’s great seein’ ya. How’d the doctor appointment go?

FAVORITE PATRON: He told me I’m gonna die, but he didn’t say when.

AMANDA: Ha! I’m so glad to hear you’re doing great.

FAVORITE PATRON: You know, there are three ages: Young, Middle-Age, and “You’re Doing Great.”

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AuthorJohn Proctor

"I just dropped Checkers off at her second full day of kindergarten, and Crazy Eights is in her second day of playschool phase-in. The school where I teach is now in its third week, and my mother-in-law is staying with us this week to help with the adjustment. For the first time, I have a full school day’s worth of writing time, and I can’t for the life of me think of what to write. I’ve got the back-to-school blues."

Read the rest here!

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AuthorJohn Proctor
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